Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. This book argues that recording technology has transformed our ...
More

Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. This book argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, the author sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.Less

Absolute Music, Mechanical Reproduction

Arved Ashby

Published in print: 2010-06-07

Recordings are now the primary way we hear classical music, especially the more abstract styles of “absolute” instrumental music. This book argues that recording technology has transformed our understanding of art music. Contesting the laments of nostalgic critics, the author sees recordings as socially progressive and instruments of a musical vernacular, but also finds that recording and absolute music actually involve similar notions of removing sound from context. He takes stock of technology's impact on classical music, addressing the questions at the heart of the issue. This study reveals how mechanical reproduction has transformed classical musical culture and the very act of listening, breaking down aesthetic and generational barriers and mixing classical music into the soundtrack of everyday life.

This book explores ritualized performance in twentieth-century music, uncovering the range of political, didactic, and aesthetic intents that inspired the creators of modernist music theater. The ...
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This book explores ritualized performance in twentieth-century music, uncovering the range of political, didactic, and aesthetic intents that inspired the creators of modernist music theater. The book focuses especially in the use of the “exotic” in techniques of masking and stylization, identifying Japanese Noh, medieval Christian drama, and ancient Greek theater as the most prominent exotic models for the creation of “total theater.” Drawing on a diverse range of music theater pieces, it cites the work of Igor Stravinsky, Benjamin Britten, Arthur Honegger, Peter Maxwell Davies, Harry Partch, and Leonard Bernstein, as well as Andrew Lloyd Webber and Madonna. Artists in literature, theater, and dance—such as William Butler Yeats, Paul Claudel, Bertolt Brecht, Isadora Duncan, Ida Rubenstein, and Edward Gordon Craig—also play a significant role in this study. The book poses challenging questions that will interest readers beyond those in the field of music scholarship. For example, what is the effect on the audience and the performers of depersonalizing ritual elements? Does borrowing from foreign cultures inevitably amount to a kind of predatory appropriation? The book shows that compositional concerns and cultural themes manifested in music theater are central to the history of twentieth-century Euro-American music, drama, and dance.Less

W. Anthony Sheppard

Published in print: 2001-02-01

This book explores ritualized performance in twentieth-century music, uncovering the range of political, didactic, and aesthetic intents that inspired the creators of modernist music theater. The book focuses especially in the use of the “exotic” in techniques of masking and stylization, identifying Japanese Noh, medieval Christian drama, and ancient Greek theater as the most prominent exotic models for the creation of “total theater.” Drawing on a diverse range of music theater pieces, it cites the work of Igor Stravinsky, Benjamin Britten, Arthur Honegger, Peter Maxwell Davies, Harry Partch, and Leonard Bernstein, as well as Andrew Lloyd Webber and Madonna. Artists in literature, theater, and dance—such as William Butler Yeats, Paul Claudel, Bertolt Brecht, Isadora Duncan, Ida Rubenstein, and Edward Gordon Craig—also play a significant role in this study. The book poses challenging questions that will interest readers beyond those in the field of music scholarship. For example, what is the effect on the audience and the performers of depersonalizing ritual elements? Does borrowing from foreign cultures inevitably amount to a kind of predatory appropriation? The book shows that compositional concerns and cultural themes manifested in music theater are central to the history of twentieth-century Euro-American music, drama, and dance.